Re: [tuning] Digest Number 1166

Re Novaro: Fokker also liked chords whose harmonic numbers had constant
differences such as 3 in the case of the triad 4:7:10:13, etc. He
generated progessions of such chords so that the common difference tone
made a bass drone. I think he called these "isoharmonic progressions."
See his book New Music with 31 Notes (the English translation of "Neue
Musik mit 31 Tonen"), IIRC.

Fokker also liked "addition chords," chords whose harmonic numbers were
lower terms of Fibonacci-like series such as 3: 5 :8, 5:8:13, 4: 7: 11,
etc. He published a paper called something like "Pleasant Sequences From
Addition Chords." See the bibliography for the exact reference; I don't
have it on the computint I'm using this AM.

--John

Thanks for this John, very interesting !

These really are fertile fields for sclae construction.

Thanks also to Kraig for his insight and maintaining the Wilson archives.

<Re Novaro: Fokker also liked chords whose harmonic numbers had constant
differences such as 3 in the case of the triad 4:7:10:13, etc. He
generated progessions of such chords so that the common difference tone
made a bass drone. I think he called these "isoharmonic progressions."
See his book New Music with 31 Notes (the English translation of "Neue
Musik mit 31 Tonen"), IIRC.

Fokker also liked "addition chords," chords whose harmonic numbers were
lower terms of Fibonacci-like series such as 3: 5 :8, 5:8:13, 4: 7: 11,
etc. He published a paper called something like "Pleasant Sequences From
Addition Chords." See the bibliography for the exact reference; I don't
have it on the computint I'm using this AM.>